Okay, let's say this right off the bat: this isn't your grandmother's Soft Machine — not literally, anyway. The word "Legacy" isn't in the band name by accident, either, which is why your mentors and predecessors at least have something to go on as this spiky jazz-rock ejaculates from the speakers. Nomenclature notwithstanding, SML both rage against the (soft) machine of old and braze thunderous new paths: mindful of the lineage or not, this is still utterly bracing stuff.
The current members no doubt have a storied history behind them. Guitarist John Etheridge, drummer John Marshall, and bassist Roy Babbington comprise a virtual who's-who of British jazz, prog and fusion from the past three decades; despite the critical drubbing that met their version of the Softs in the late 70s and 80s. New recruit Theo Travis, a flautist of equal merit who has distinguished himself recently in collaboration with Robert Fripp on a series of ethereal soundscapes, presents himself admirably, and fits easily in with the Soft legacies old and new. With such pedigree amongst this quartet, attentive listeners drinking deep of these "new" vibes will no doubt begin reeling in the (bygone) years, as this recording acts as a tidy summation of glories past and potential futures.
What is perhaps most telling about this document is how tight, giddy, and downright funky it gets in spots (and this is sans keyboards). Smart, energetic playing is abundant throughout: Etheridge's guitar on "In the Back Room" positively reeks of shredded skin and stage-light sweat, Travis's wonderfully melodious solo conjuring a lazy 60s New York feel while remaining steadfastly European in its strident tone. The opening "Has Riff II" is the record's biggest trip down memory lane with Marshall's delicate cymbal work opening up vast tracts of space for Travis and Babbington to negotiate through while Etheridge's guitar traces spooky contours. The band also covers Hugh Hopper's chestnut "Facelift", which they facelift appropriately: Hopper's signature lilting melody remains in place, but this quartet ain't happy to let sleeping dogs lie as saxes blaze, bass pumps, and Etheridge and Marshall gladly welcome the barbarians at the gate. Nothin' going soft at this date — the legacy marches valiantly on.
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